Time to wish for some things I "hope" they can do in firmware (not hardware because that's not going to change).

1) Slow shutter for time lapse

2) Electronic Image Stabilization... even if it means cropping in on sensor when enabled. It could make the camera more useful if you have to go handheld.

3) Auto Focus that tracks (depending on the lens of course. It just has to be passable enough to use on a gimbal. At times it can be hard to maintain critical focus if you're using a somewhat shallow DOF.

4) Disable the screen when attaching an external monitor... to save battery.

Nice list. But Electronic image stabilization is a hardware device the holds the sensor, not a firmware upgrade, and it causes more issues with high end video than it solves, which is why Panasonic removed it from the GH5s, and to also allow the larger Sony sensor to fit in the GH5 body/MFT Mount. The new Pocket will work with lens IS, which is better for a video camera. In body stabilization is also always “on” even when Turned Off.

Tracking Auto Focus is also a hardware feature that needs to be added at the time of the camera build.Cheers

Electronic IS is basically optical flow and cropping. This is much better done with raw in postproduction, as the computing capability of a tiny camera can never compete with desktop/server GPU with optical flow.

The problem I had with stabilizing in post with the original Pocket is that the rolling shutter made it near useless. If it's still an issue I'm thinking an in camera algorithm might compensate for that. Some of the better optical flow plugins allow one to import or create such but I found they didn't really work on micro jitter rolling shutter artifacts.

Of course if the Pocket 4K rolling shutter is much improved, post stabilization might be viable. I'd love to see a DCI 4K rolling shutter test on a hand held shot.

The camera does do push to focus so it seems it can adjust briefly. I was thinking there might be a means for a constant on state within limited ranges for very short intervals (despite the drain on the battery).

Ability to use USB Audio interfaces via the USB-C connection might be useful. This may be easy if the URSA OS is based on Linux (which would already have the drivers available) maybe not so easy otherwise.

Craig Seeman wrote:Time to wish for some things I "hope" they can do in firmware (not hardware because that's not going to change).

1) Slow shutter for time lapse

2) Electronic Image Stabilization... even if it means cropping in on sensor when enabled. It could make the camera more useful if you have to go handheld.

3) Auto Focus that tracks (depending on the lens of course. It just has to be passable enough to use on a gimbal. At times it can be hard to maintain critical focus if you're using a somewhat shallow DOF.

4) Disable the screen when attaching an external monitor... to save battery.

5) Waveform. I really prefer it to histogram.

6) ProRes Raw (obviously I'm an FCPX user).

Now you can start posting how these are all

I'm good with your list. However #5 doesn't work for me. I have gotten used to the histogram.

Craig Seeman wrote:Time to wish for some things I "hope" they can do in firmware (not hardware because that's not going to change).

1) Slow shutter for time lapse

2) Electronic Image Stabilization... even if it means cropping in on sensor when enabled. It could make the camera more useful if you have to go handheld.

3) Auto Focus that tracks (depending on the lens of course. It just has to be passable enough to use on a gimbal. At times it can be hard to maintain critical focus if you're using a somewhat shallow DOF.

4) Disable the screen when attaching an external monitor... to save battery.

5) Waveform. I really prefer it to histogram.

6) ProRes Raw (obviously I'm an FCPX user).

Now you can start posting how these are all

I don't personally care much for 2), as said before, it is better to do it in davinci with all the extra options, and the result will be better.Other options are great, especially some kind of usable autofocus. Or at least a kind of programable "rack focus" as was implemented in Magic Lantern.And I too miss, in BMPCC, slow shutter for time lapse, light streaks, extreme low-light, fx. It often forces me to drag 5D around.

Piotr Podermanski wrote:I don't personally care much for 2), as said before, it is better to do it in davinci with all the extra options, and the result will be better.

Have you tried this with the original BMPCC? Again my experience is that the micro jitter rolling shutter makes post stabilization difficult. I haven't tried this in Resolve but can you build a rolling shutter camera profile? At the very least that would be a must. I've tried this is other software and while one can account for general rolling shutter skew, micro jitter is a problem. Please do let me know how you've handled it.

I suspect the BMPCC4K has significantly less rolling shutter but there's been nothing specifically indicated about that. Just enough EIS to get rid of micro jitter would even make post stabilization much easier.

A slow shutter speed (like the 1/4s on the A7S) would be fun.Although I think it would be a mistake to make any claims for “still photography features” (the GH5 et al are better hybrids)Prores raw must be inevitable at some stage.Very much only a “wishlist” as I’ve no reason to think it lacks anything substantive.

This is not necessarily a new feature, but I would like the file naming convention to be the same as in the original pocket cinema camera, with the ability to include a user assigned camera name as part of the file name. For multi-camera shoots this would be a great boon when trying to figure out what is what when ingesting media.

False color scale when false color is turned on. Just a vertical line that lists the colors used from darkest to lightest on one side of the screen when the exposure tool is used would be incredibly useful.

I didnt read there was bluetooth on it.. but if so, that has a limited range. I was wondering if you wanted to set up say 3 of these, and have all of them starting at the same time remotely, from a distance greater than bluetooth allows for would be cool.

it is very obvious BMD have nether the expertise or technology to do this - that is not a criticism, heck even sony and panasonic struggle to get it right and canon had to invent a whole new type of sensor HW to do it properly

Stu, to be fair to BM, it is a cinema camera. It's not supposed to be auto anything. Be that as it may, I am with you with more automatic features like continuous auto focus, or continuous ISO. The classic cinema camera is great for the classic hollywood set where everything is controlled to the n'th degree, but I don't shoot that way and don't ever expect I will.

But don't get me wrong, I am very excited with the package BM has put together with this new camera. I am getting this camera. But I also eagerly await what Sony will do with the a7sIII. It is time they at least output 4:2:2 10bit if not record it internally. It's certainly not 12 bit raw, but getting closer.

Tim Lota wrote:If not already on board:- XLR + Line (+ on board mics) at the same time (different channels)

Definately!The mic-input can also be used to sync.Hopefully that doesn't block both stereo signals on that port.

I have a Rode Stereo VideoMic X. Sad that I can't connect both mini-XLR.But hopefully I can at least run sound via 3.5mm TRS and still phantom power the microphone.(Or better yet run the second stereo signal together with LTC timecode into the TRS port while using mini XLR for power and the first stereo signal.)

Craig Seeman wrote:Time to wish for some things I "hope" they can do in firmware (not hardware because that's not going to change).

1) Slow shutter for time lapse

2) Electronic Image Stabilization... even if it means cropping in on sensor when enabled. It could make the camera more useful if you have to go handheld.

3) Auto Focus that tracks (depending on the lens of course. It just has to be passable enough to use on a gimbal. At times it can be hard to maintain critical focus if you're using a somewhat shallow DOF.

4) Disable the screen when attaching an external monitor... to save battery.

5) Waveform. I really prefer it to histogram.

6) ProRes Raw (obviously I'm an FCPX user).

Now you can start posting how these are all

All this + False Color if it is not already there.Also, make the battery gate removable to allow for BMD and/or 3rd Party battery grips add-on accessories.

Piotr Podermanski wrote:I don't personally care much for 2), as said before, it is better to do it in davinci with all the extra options, and the result will be better.

Have you tried this with the original BMPCC? Again my experience is that the micro jitter rolling shutter makes post stabilization difficult. I haven't tried this in Resolve but can you build a rolling shutter camera profile? At the very least that would be a must. I've tried this is other software and while one can account for general rolling shutter skew, micro jitter is a problem. Please do let me know how you've handled it.

I suspect the BMPCC4K has significantly less rolling shutter but there's been nothing specifically indicated about that. Just enough EIS to get rid of micro jitter would even make post stabilization much easier.

I run a small test in Resolve and After Effects to compare. The footage is from 5D raw.I guess the biggest issue is not the rolling shuter jitter, but motion blur, which, after stabilization is even more apparent. Like the two adjacent frames below, after stabilization:

blur-vs-noblur.jpg (497.72 KiB) Viewed 10567 times

Unfortunately, electronic stabilization won't be able, without a very strong processing power to remove the motion blur from the frames. Edit: oh, forgot Camera Shake Deblur in AE, will give it a try, one moment... ok.. it's the last video in the list.

I think the best option would be to use IS lens plus post stabilization using perspective or warp depending on the movement and subject. This would eliminate the ugly motion-blur-jitter, and PC would then be able to make it look really pretty. I didn't have any IS lens at hand to give it a try tho.

Here is warp stabilization in AE, with and without rolling shutter compensation. Which looks terrible, just because it's... well stabilized. So the motion blur is more visible.https://vimeo.com/264479642/4cbb6d2d6b

And here I added some more motion blur in Resolve, which makes the stabilized footage seem a bit better stabilized, since to our eyesight motion blur seems more natural:https://vimeo.com/264479653/200f687c5f

And here is AE warp stabilization with "reduce camera shake" effect added (no tweaking just default values). It Did a quite nice job with the background, but introduced a lot of artefacts to the main subject.https://vimeo.com/264487765/8132108091

Gene Kochanowsky wrote:This is not necessarily a new feature, but I would like the file naming convention to be the same as in the original pocket cinema camera, with the ability to include a user assigned camera name as part of the file name. For multi-camera shoots this would be a great boon when trying to figure out what is what when ingesting media.

I vary the first letter to indicate the lens I’m using. So my clips begin Bnnn if I’m shooting with the B4 lens and Pnnn for the PL APO lenses. I only use one camera now, but you might use the same technique as a workaround: Annn for clips from camera A, Bnnn for your B camera and so on. Not ideal, but might help.

Denny Smith wrote:I would also like to see a 2.xK actual S16 window, larger than the HD window, similar to the 2K window on the UM 4.6.Cheers

Me too, shocked a DCI 4K camera from BMD doesn’t have DCI 2K. That’s what I prefer to shoot most of the time even when delivering HD if the client agrees. With the 4x crop on the HD window on the BMPCC4K, I’m going to record open gate and downscale to 2K in Resolve.

Yes we do, a full S16 2.x DCI window would cut 4K DCI file sizes in half, and still render down to a nice HD deliverable. Also a S16 sized window would allow shooting with S16 lenses, like the Zeiss Super Speeds and Angie S16 zooms.Cheers

rick.lang wrote:With the 4x crop on the HD window on the BMPCC4K, I’m going to record open gate and downscale to 2K in Resolve.

In one of the Grant Petty interviews, he seemed to be saying that full sensor 4K is downsampled to HD in camera-- the windowing is only for 120fps. Or do you have something else in mind?

Hey, John! Thanks. I may have missed that interview of Grant. Do you recall which firm interviewed him on that? I saw other people interviewed that always talked about “windowed HD.” That would be good news for ProRes shoots. Still want my 2K option if possible though.

I would like to see a resolution above 2K, cause a lot if clients want HD résolution only. 4K DCI eat too much space and hard to edit in à NLE. HD downsample work with ProRes but not Raw. A resolution like 2.5K would be good.

rick.lang wrote:Do you recall which firm interviewed him on that? I saw other people interviewed that always talked about “windowed HD.” That would be good news for ProRes shoots. Still want my 2K option if possible though.

Unfortunately, I can't find it and tolerance for youtube interviewers is low ... they're all hairless and talk too much.

In the course of the interview in question, I believe Grant Petty remarked that recording HD in camera had the usual large benefits for anti-aliasing, so I assumed he was talking about a full-frame down-sample to HD. It's hard to believe this camera wouldn't have that feature.

That aside, what exactly is the appeal of the few extra pixels of 2K, if you're not looking to a DCP? Seems like it would be more trouble than it's worth. A window for owners of S16mm lenses seems even less likely.

If we half the area to 3704 x 1389 we could get 48fps (maybe?)So lets crush it some more to 2400 x 1350We could (maybe) get 50 or 60 fps at 14 bit.Assuming 80% volume of all possible 14 bit values. Since, 13 stops out of a possible 16 is 80%.

John Paines wrote:Yes, that's the interview, at 5:55. It's less ambiguous than I remembered, there doesn't seem to be any doubt that the camera uses the full sensor and scales internally to HD, for all but HFR.

Excellent, John and thanks for the link Robert. “You can use full sensor and scale down to HD in camera.” I find 60 fps quite useful with 4K or HD so that issue is resolved for me. Rarely would I use 120 fps, but it’s there (with a 4x crop factor) if I want it. And although it is not specifically mentioned, it wouldn’t surprise me to see the option of internal downscaling to go from 4K to a 2K recording without clipping the horizontal field as would happen going from 4K to HD.

The reason I shoot 4K/2K is either that I choose to have that roughly 7% wider field of view for events because aesthetically I prefer that 2.4:1 frame or for those who want full HD deliverables, it gives me more room to stabilize with potentially less upscaling of the image. Not a deal breaker, but nice to have options.

RGB Histogram or RGB Parade would be even better. It's possible that a single color channel can clip in some cases even if the luminance histogram (and maybe zebras?) look fine. With RGB one might see a level problem with one channel.

RGB Histogram or RGB Parade would be even better. It's possible that a single color channel can clip in some cases even if the luminance histogram (and maybe zebras?) look fine. With RGB one might see a level problem with one channel.

- anamorphic modes similar to gh5s- anamorphic desquize (1,33 /1,5 /2)- ability to switch shutter angle / shutter time- battery safe mode thats turn off the screen on standby mode, set by user ( off, after 10s, 30s, 1min, 2 min...) - first tap on record to turn on the screen, tap na the screen to activate the screen).- false color- settings presets: i know that is now hfr mode, but custom prestets would be nice. First you choose which settings you want to be overwritten after selection that particular preset. Then you set parameters. For example It could be nice to quicely change shutter angle to reduce the flicker in hfr. You set your camera shutter angle to 180 but when there is an arificial light you can quicely change to proper angle for you country ( i’m in europe so 50Hz for me).- waveform- ability to set transparency of the separate UI elements.

Because pocket 4k battery door are removable bmd could design grip for pocket 4k that gives us double lpe6 or even allow to slide at the bottom slim 95wh vlock ( plus some dtap and 7.2v ports as a part of the design). Also grip could provide 15mm rod holders in front of the camera, a port locks from the left of the camera. Additional place to add viefinder at the top left. And few holes to mount small accesories at the back and the bottom part. Weight distribution would be nice, because batteries will be at the bottom of the camera.